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Wir zeigen:
Malerei, Zeichnung, Lichtobjekte, Skulptur, Fotos, Grafik (Augmented Reality)
der Künstler

THOMAS BAUMANN
SONJA GANGL
MARKUS HUEMER
IRWIN
PETER KOGLER
MICHAELA KONRAD
MICHAEL SCHUSTER
THOMAS STIMM
UTA WEBER
ERWIN WURM

Öffnungszeiten Mi-Fr. 14-18 Uhr
und gegen Vereinbarung unter office@artelier-contemporary.at

We are pleased to announce MARKUS HUEMER . Following his very successful solo exhibition at the Schlossmuseum Linz with works from his new cycles "Kryptogamen" and "Blumensträusse" the artist returns to the Artelier Contemporary gallery.

Markus Huemer, born in Linz in 1968, lives and works in Berlin. He has been working with Artelier since 2004. In 2017 he was shown together with Erwin Wurm and in 2020 in a solo exhibition, which was unfortunately interrupted by lockdown.

In Huemer's works, digital image processing, which is then transferred into painting, is the artistic and pictorial theme. The correlative relationship between digital image processing and painting is important not only in the creative process, but also in terms of content. The titles of the artworks usually emphasize their construction of reality through computer programs and painting. Although these are actually existing natural phenomena, they do not appear real, but rather bizarre.

On the paintings from his cycle Kryptogamen, which the artist created during his study visit to Ireland in 2022, he states: "The "gardeners" there are not craftsmen, but botanists with PhDs. I was lucky enough to have a botanist on site who wrote her PhD on cryptogams."

The creation of the paintings is based on images that were first taken by photo camera. After which the images were rearranged on the computer and ultimately recreated as paintings.

Plants such as ferns, mosses, viruses, algae, bacteria, fungi, etc. are life forms that reproduce asexually. They were the first to colonize our planet, have survived every climate change to date and will probably survive the current climate change unscathed. Complex sexual reproduction, on the other hand, is much more vulnerable and has always been threatened with extinction.

The titles of the works emphasize their construction of reality through computer programs and painting: Kryptogamen are not only forms of life, but also digital computer games (Cryptogames), as the function based on a very similar logic.

In the cycle of Blumensträusse he deals with the paradox that the market for cut flowers (cultivation and distribution) has risen dramatically with the increased focus on nature and the daily debates about climate change. However, in order to beautify one's mostly domestic living environment in the short term and to enjoy nature, a piece of nature is being destroyed again.

The motifs for the paintings are dried bouquets of cut flowers and therefore completely lifeless flowers. They are first digitally captured using 3D Polycam scanner software and digitally processed, then transferred to the painting, whereby the lack of color in dried flowers is exaggerated through artistic-painterly composition. The color, which is actually the artistic means of depicting an object (e.g. a bouquet of flowers), settles, so to speak, above the painted motif. The idea of integrating color and the joie de vivre associated with it in the form of cut flowers into his immediate living environment is thus affirmatively exaggerated by painterly means.

REFLECTION

Spiegelarbeiten von

Heiner Blum
Georgia Creimer
Ronald Jones
Martin Kippenberger
Jörg Schlick
EVA & ADELE
Michael Schuster
Gustav Troger

The artist MICHAELA KONRAD will be shown for the first time in Graz in a solo exhibition Science Fiction /paintings and prints at the gallery Artelier Contemporary.

MICHAELA KONRAD, born 1972 in Graz, lives and works in Vienna and Santa Cruz de Tenerife (ESP). She received her graphic art education at the Centro Municipal de Arte Gráfico, Santa Cruz de Tenerife and one year at the University of Applied Arts, Vienna.

MICHAELA KONRAD invites YOU on a journey through pop culture of past decades and future realities, with SCIENCE FICTION. In series and sequences visually inspired by midcentury comics, vintage game design, science fiction pulp magazines and past mass culture phenomena, she presents an artistic exploration of the great questions of humanity. In a time of information and image overload, she strives for clarity and orientation. Thus science, philosophy and contemporary history become important sources of inspiration for her art, which she playfully incorporates into her work Michaela Konrad's oeuvre encompasses a broad spectrum of media - preferably painting, offset lithography as well as multimedia installations. And the idea is always the prerequisite and the drawing the basis of her creative work. She paints in the tradition of flat painting, avoiding the artistic gesture. Rather, she strives to reduce the line, the brushstroke and the form to the essential. After brainstorming, researching and creating preliminary drawings, her painting becomes a concentrated craft. In various projects she experiments with new media and creates a combination of digital and traditional drawing.
Augmented reality, brings her work to life.

The exhibition is on view from May 13 to July 27, 2023 at the gallery "Artelier Contemporary" at Griesgasse 3 in Graz.

We are pleased to announce MICHAEL KIENZER in Artelier Contemporary gallery again.

Born in 1962 in Steyr (Austria). Living in Graz since 1970. He studied sculpture with Josef Pillhofer in Graz and Bruno Gironcoli in Vienna. He has received numerous awards including Otto Maurer Prize, Awards from the City of Vienna and Graz and art prizes from Upper Austria and Lower Austria. Moreover he is also an award winner of the Austrian Art Prize for Fine Arts.

Michael Kienzer is an expert in the field of contemporary sculpture in Austria.

….hat er sich seit den 1980er-Jahren ein breites Feld an erweiterten, experimentellen skulpturalen und plastischen Möglichkeiten erschlossen und ein vielfältiges Werk erarbeitet. Seine neueren Arbeiten stellen vielteilige Zusammenstellungen von meist industriellen Materialien zu eigenwilligen Konstellationen dar. Solche fragilen Konstellationen akkumulieren sich in längerer Arbeit und verdichten sich, wobei die Möglichkeit zur Veränderung offenbleibt. Das gelegentliche Sosein im Hier und Jetzt von Kienzers hybriden Stapeln und Lagern aus Metallen, Glas, Holz, Papier ist weder für die Ewigkeit noch für den Augenblick gemacht. Bei aller Anmutung des Vorläufigen und Zufälligen hat das Mehrteilige eine sonderbare Präsenz.

Text Auszug Matthias Haldemann,  Kunsthaus Zug CH

Michael Kienzer is an expert in considering the impact of the space in which his art is presented. Different art pieces on the topic of space, time, surface, condensation and materiality will be shown to give a cross-section of his material paintings and objects.

REVIEW A-311

mit Werken von

Angela Eisenköck  • Sonja Gangl • Manuel Gorkiewicz  
Markus Huemer • Michaela Konrad • Tobias Rehberger
Eva Schlegel • Michael Schuster • Thomas Stimm
Uta Weber • Peter Weibel

VERLÄNGERUNG DER AUSSTELLUNG BIS 18.03.2023

For the planned installation at Artelier Contemporary, the artist, who was born in Graz in 1976 and grew up in Eastern Styria, draws on memories from his youth. During several stays with friends in Munich in the 1980s, a formative experience was a visit to the Olympic Park and the roofing of the sports city designed by Frei Otto. These lightweight glass roofs have influenced Gorkiewicz's understanding of architecture and his later artistic development to this day.

Another experience from these years was getting to know the "Süddeutsche Zeitung", which was a novelty in its sheer size and the handling it demanded - compared to the "Kleine Zeitung" he had known until then.

These personal anecdotes are to be taken as an opportunity to realize a light hanging installation in the gallery space, which takes Frei Otto's architecture as a model. Although instead of glass, various textiles and newsprint from current issues of the "Süddeutsche" and "Kleine Zeitung" newspapers will be used. The artistic spatial intervention intertwines with the gallery vault like a light, floating false ceiling.

This exhibition 4artists-4positions shows 4 female artists
all born or living in Styria. 4 positions of artistic
expressions in painting, graphics and multimedia, drawing and wall objects.

Auf Grund der pandemischen Situation wird die Aussstellung verlängert

Aluan Argüelles • Anita Fuchs • Ekrem Yalcindag • Eliška Bartek • Manuel Gorkiewicz • Markus Huemer • Michael Schuster • Peter Kogler • Sonja Gangl • Thomas Stimm • Uta Weber • Wolfgang Becksteiner und das Buch Floating Piers 2016 von Christo und Jeanne-Claude

Markus Huemer has been working with the Artelier Contemporary gallery for many years and after his last exhibition with Erwin Wurm in 2017, we are delighted to welcome him back.
The new work process of small-format oil/canvas paintings and drawings, shown here for the first time, refers to the copperplate engravings of the artist and naturalist Maria Sybille Merian (1647 -1717) and her classic Metamorphosis insectorum Surinamensium, which the artist has been exploring repeatedly for many years.

Elisa Bartek / Christian Eisenberger / Markus Huemer / Christian Philipp Mueller
Rudi Molacek / Werner Reiterer /
Alfred Resch-Diaz / Hubert Schmalix /
Ira Schneider / Michael Schuster /
Thomas Stimm / Uta Weber

The limited edition Musterbuch 90 - 05 will be published for the exhibition

As part of aktuelle Kunst in Graz / Galerientage 2019

fine art prints, photography, paintings and (light) objects by:

Eliska Bartek Wolfgang Becksteiner Ida Bekic
Clegg + Guttmann Christian Eisenberger EVA + ADELE G.R.A.M. Konstantin Grcic
Richard Hoeck Markus Huemer Michael Kienzer Martin Kippenberger Peter Kogler Rudi Molacek
Flora Neuwirth Tobias Rehberger Werner Reiterer
Gerwald Rockenschaub Eva Schlegel Michael Schuster Thomas Stimm
Esther Stocker Ulrich Strothjohann Gustav Troger Uta Weber Hans Weigand Heimo Zobernig

Iris Andraschek • Eliška Bartek • Angela Bulloch
Bonislava Dubner • Sabina Hörtner • Flora Neuwirth
Eva Schlegel • Esther Stocker
Uta Weber • Matta Wagnest

Fotografie, Leuchtobjekte und Fine Art Prints

Cosima von Bonin, Monica Bonvicini, EVA&ADELE, Sonja Gangl, Brigitte Kowanz, Anna Meyer, Rivka Rinn, Kiki Smith

Works by:

Aluan Argüelles Ÿ Eliška Bartek Ÿ EVA & ADELE
Markus Huemer Ÿ Peter Kogler Ÿ Gerwald Rockenschaub
Michael Schuster Ÿ Thomas Stimm Ÿ Gustav Troger
 Uta Weber Ÿ Erwin Wurm Ÿ Ekrem Yalcindag

Following a study visit to Havana by the Swiss artist Eliška Bartek, born in Nový Jicin (Czech Republic), whose photographic works have already been shown several times at Artelier . By inviting the Cuban painter and sculptor Aluan Argüelles to Graz the concept of a joint exhibition was developed.

CLEGG + GUTTMANN / EVA + ADELE / SONJA GANGL
MARKUS HUEMER / PETER KOGLER / EVA SCHLEGEL
HUBERT SCHMALIX / MICHAEL SCHUSTER / THOMAS STIMM
GUSTAV TROGER / UTA WEBER / ERWIN WURM
EKREM YALCINDAG / HEIMO ZOBERNIG

In our exhibition series "30 Jahre Artelier", we are presenting four Austrian artists as representatives of the many national and international artists who worked with us since our founding in 1985. After Erwin Wurm and Peter Kogler, the next in line is Thomas Stimm. The collaboration with the well-known Austrian painter and sculptor has existed since the publication of his first Artelier Edition Blumen (book/portfolio) in 1986/87.
Many other exhibitions and projects followed. When he founded the artist label Soylent green (1975-2002) with the German artist Uta Weber, a performance with the label's Fairtrade products (trouser suits made of Indian silk, hats, scarves etc.) took place for the first time as part of his solo exhibition at the Galerie Artelier / Graz in the form of a fashion show, which was later adopted by Guggenheim / Berlin.

Artelier Contemporary is pleased to announce this exhibition by Peter Kogler.
Our collaboration with the artist dates back to 1985.
From the very beginning, countless projects by the artist have been realized in the former Artelier workshops, such as documenta X/IX, the Austrian Pavilion at the Venice Biennale, Mamco Geneva, Secession Vienna, MOMA New York and many Kunstverein exhibitions in Austria and abroad.
In Graz, the artist is permanently present through his installations in the main station / Banhofshalle (2003) and in Personentunnel Nord (2013).

Artelier Contemporary is pleased to announce this exhibition by Erwin Wurm.

Erwin Wurm is one of the most successful contemporary artists. In addition to the Grand Austrian State Prize for Fine Arts 2013 (among many other rewards), he was awarded the Würdigungspreis des Landes Steiermark in 2015.

His multi-layered work stands for the an expanded concept of sculpture. With his group of works Fat and One Minute Sculptures he became internationally known, ever since the music group Red Hot Chili Peppers named Erwin Wurm in Can't Stop 2003 as source of inspiration.

In this exhibition Erwin, he aims to encourage the visitor to interact and become an object and part of a work of art themselves and to give them the freedom to share this action via social media on Facebook, Instagram, Twitter etc.

Manuel Gorkiewicz, Eliska Bartek, Katharina Grosse, Richard Hoeck, Heimo Zobernig, Peter Kogler, Markus Huemer,Klemens Torggler, Ekrem Yalcindag, Gilbert Bretterbauer, Michael Schuster, Wolfgang Becksteiner, Thomas Stimm, Uta Weber, Ulrich Strothjohann

We are please to announce our next exhibition by Klemens Torggler „… doors“ .

In 2007, long before he gained worldwide attention with his video clips on YouTube with more than 2 million views, Artelier, produced a 15-part unique series of the Bildtüren published and presented at international art fairs.

In the exhibition „… doors“, they are now presented in Graz for the first time.

works by
Eliska Bartek, Wolfgang Becksteiner, EVA+ADELE, Christian Eisenberger, Sonja Gangl, Markus Huemer, Michael Kienzer, Tobias Rehberger, Michael Schuster, Thomas Stimm, Esther Stocker, Uta Weber,
Hans Weigand, Markus Wilfling, Ekrem Yalcindag, Heimo Zobernig

In his fourth solo exhibition at the Artelier Contemporary gallery, Markus Huemer is showing a series of paintings for the first time in which he deals with the theme of architecture. Even the titles of the paintings - e.g. ""Room for Education-Resistant Persons Allergic to Intelligence", "My Opinion Is Fixed. Please Don’t Confuse Me with Facts." or "I Don’t Have a Solution, But I Admire the Problem". - show that the paintings are only superficially concerned with the depiction of architecture. The motifs selected are central bank foyers and reception rooms in administrative buildings.

In Kooperation mit steirischer herbst

225 Millionen Morde
Augmented Reality Installation 2011

https://vimeo.com/groups/steirischerherbst/videos/29660521

Jörg Schlick would have been 60 years old this year. As one of the most important conceptually thinking multi-artists, who has worked in an interdisciplinary way from the very beginning, this exhibition is intended as a sign of the appreciation due to him and as a tribute to show a small selection of his primarily multiple work. The title MEMORY thus stands for strategies of his thinking and for precise memorability. -Dr. E. Fiedler

Bartek - Becksteiner - Gangl - Gorkiewicz - Rinn - Schuster - Wilfling

Einführendes Gespräch:

Dr. Brigitte Huck, Kuratorin/Wien und
Adam Budak, Kurator/Universalmuseum Joanneum Graz

As part of "Galerientage" by aktuelle kunst in graz.

Gustav Troger repeatedly deals with perception, the reality that we cannot grasp as such. For this examination, he chooses countless mirror fragments as a metaphor for reflection, which break the seemingly objective reality into many aspects - therefore, as a whole, reality cannot be grasped.

Under the title "Mirror-Displacement", which refers to Robert Smithson's group of works "Mirror-Displacements" (1969), Troger created a series of works in which he works with covering objects with mirrors. From the Porsche car to (cast bronze) horses, columns, altars, the life-size copy of the figure Austin Powers and the current works - the boat and Joseph Beuys' felt suit - the artist optically dissects seemingly clearly coded parts of a complex reality using small pieces of mirror. The same happens with the environment reflected in the shards. Troger's "Mirror-Displacement" objects become catalysts for questioning the nature of reality and for thinking about how real reality really is.

His preoccupation and examination of the history of the use of mirrors in art and his questioning of the perception of reality led to the creation of a series of mirror-objects, which display a rich potential of manifestations through the self-dissolution projected by the mirror. The mirror itself also shatters into countless fragments, which can be understood as an invitation to a constant reorganization. Orders that are taken for granted are called into question.

The first exhibition in 2010 will be declared opened by the internationally renowned Austrian artist Peter Kogler. P. Kogler is also permanently represented in Graz with his interior installation at Graz Central Station and the façade of the main building of the Artelier/ Herrgottwiesgasse with Kunst im öffentlichen Raum.

During almost 25 years of collaboration with the artist, many of his installation projects have been realized at Artelier/Graz, e.g. documenta IX and X/ Kassel, Venice Biennale, MOMA /NewYork, Mamco /Geneva etc.

Eliska Bartek
John Baldessari
Wolfgang Becksteiner
Sonja Gangl
G.R.A.M.
Markus Huemer
Peter Kogler
Rudi Molacek
Flora Neuwirth
Gerwald Rockenschaub
Ulrich Strothjohann
Ira Schneider
Michael Schuster
Klemens Torggler
Gustav Troger
Peter Weibel

The first exhibition in 2009 is declared open by the Art prize winner of the city of Graz 2008

SONJA GANGL

Following her highly acclaimed participation in an exhibition at the Albertina Vienna in the fall of 2008 (Nach 1970. Österreichische Kunst aus der Albertina), the artist, who was born in Graz and lives and works in Vienna, is represented with the personal exhibition "Upgrade 1.09“ in Graz again.

"Sonja Gangl works interdisciplinary in the media of photography, video and computer, which she combines with classical media such as drawing or painting. In the interaction between photographic and painterly structures of image design, the artist creates both a formal and a thematic field of tension in which she explores her themes of observation and voyeurism, desire
and consumption, sexuality and "disembodied corporeality". This artistic approach leads to a highly topical expansion of the painterly and
graphic processing of photographic material as an expression of an intelligent discourse between traditional and contemporary media."
-Reasoning of the art prize jury: Dr.Gertrude Celedin, Prof. Peter Weibel, Dr.Arnulf Rohsmann and Mag.Gerwin Peter Hoffmann (Kulturserver Graz)

"Sonja Gangl's artistic work deals with situations of desire that are constituted in cinematic and photographic or advertising-aesthetic moments and are not only reflected by Gangl in these media, but also transferred to media such as drawing and sculpture.

The representation of market and advertising aesthetic issues in the visual arts is based on a wealth of economic models whose practices are critically undermined, counteracted or even transferred in their entirety into the artistic work. The photographic appropriation mechanisms of advertising often serve as a starting point for assimilating product-like marketing strategies and transferring them into the artistic field. The question of the authenticity of the product correlates with the question of the authenticity of the photographic image, whose function as a signifier of a specific form of reality is linked to the question of how reality can actually be experienced. At the same time, the suggestive moment of advertising meets the subjective and thus reality-suggesting moment of art. The central question that arises in photographic images is that of the chosen pictorial detail that contributes to the perception of the subjectively generated reality".

-excerpt and translation of "Zensuren und Begehren. Zu den Arbeiten von Sonja Gangl" by Walter Seidl

Markus Huemer 's work involves a variety of media such as painting and drawing as well as creating interactive installations, environments and computer animations.
In doing so, he examines the suitability of digital media for art with the experience of classical media, i.e. he works against the background of art and media history, at the interface between media and classical art.
Essential to this is his knowledge that painted worlds, like network worlds, are imagined and completely artificial.
He presents us with formally reduced products that are flat like silhouettes and limited to a minimum in terms of color. We are reminded of something and at the same time recognize that it is a form of stylization. On the one hand, we find the media-critical approach in his work, on the other hand a strongly playful, ironic one.

Markus Huemer thus moves between and within the media of painting, drawing, but also digital media, the Internet and computer language. He addresses the question of the significance of the image or the medium of painting and its changing conditions of construction, drawing on the renowned painters in art history, most notably Sigmar Polke, Jackson Pollock, Marc Rothko and Yves Klein .
Their work is quoted, scrutinized and further developed using various techniques.

Huemer's examination of language is also essential. The tradition of literary machines begins with Athanasius Kircher (1602-1680) and continues to this day in typewriter. It is no longer about strings of letters, but about communication and correspondence. He writes exhibition titles as assertions or pretends to convey content that ultimately explains nothing. One seeks a message that does not exist, on the assumption that a sign-carrying apparatus must inevitably produce content such as: Ich kann hypnotisieren! Was kannst Du? or Verführung Mindereinsichtsfähiger.

The reduction of his color palette to blue, grey, white and black is characteristic for his work. Alongside the non-colors white and black, grey stands for the old masterly technique of grisaille painting, which was also used as a preliminary drawing for painting. Today, it is often still legible as a sign of the unfinished nature of a picture, contributes to the price increase of a painting and basically stands for the unfinished, which particularly appeals to Markus Huemer. In this way, not only is the system of the art market ironically questioned, but the openness of the work is also declared at the same time.

-Excerpt from the text "Verführung Mindereinsichtsfähiger" by Elisabeth Fiedler

„Michael Schuster – 3 Eisengasse“ was the title of the exhibition that was shown in 1991 at the Galerie & Edition Artelier in Eisengasse. The exhibition presented the editions produced between 1987 and 1990 from the collaboration between the Artelier and the artist Micahel Schuster.

„Michael Schuster – 3 Griesgasse“ is the title of the show, which 17 years later on the occasion of the opening of the gallery's new showroom, is now Artelier Contemporary, in Griesgasse 3.

The spectrum of works on display ranges from the early photographic works, which reflect Schuster's conceptual and media-reflective strategies such as his examination of perception and the phenomenon of the reproduction of reality, to the works "after photography", which Prof. Rolf Sachsse (Professor of Design History and Design Theory at the Saar University of Fine Arts in Saarbrücken) describes as "Typolichtbilder". In his more recent works, Michael Schuster combines three-dimensional typefaces with alternating or stationary colors and creates a concise form of "Raum-Text-Erfahrung" with these colorful type sculptures.
The show at Griesgasse 3 will also see the first presentation of the works created for the exhibition, including a work with a reference to Graz. Following on from "Amerika-Arbeit" (1992-1993), the final result of a project in which the Kodak Color Control Patches were set up and photographically documented as a "true" reproduction of reality at the "most significant points" in the USA as named by tourism associations, the "Graz Work" was created, in which K.C.C.P. was transported to the "most significant point" in Graz - in front of the clock tower on the Schlossberg in Graz - and photographed as a "picture within a picture".